Análisis Filosófico
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El problema metodológico: ¿batalla o impasse?
No full textIn this paper I question Penelas' claim that the debate on the model-theoretic argument -proposed by Putnam and rejected by causal theorists such as Devitt- has reached the stage of a methodological impasse: the semantic issue cannot be settled until a wider issue concerning the methodology of the philosophical research is itself settled. My thesis is that both Putnam and Devitt has known the debate to be not merely semantic but mainly methodological ali along. Moreover, I try to make the further point that the argumentative strategy chosen by Putnam has a circularity problem
R. Gaeta, N. Gentile, S. Lucero y N. Robles, Modelos de Explicación Científica: Problemas epistemológicos de las Ciencias Naturales y Sociales, Buenos Aires, EUDEBA, 1996, 126 pp.
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William L. Reese, Dictionary of Philosophy and Religion. Eastern and Western Thought, Nueva Jersey, Humanities Press, 1996, 856 p.
No full textOlbeth Hansberg, La diversidad de las emociones, México, Fondo de Cultura Económica, 1996, 198 p.
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Partituras, lienzos, palabras: sobre la asimetría de las artes
No full textSorne traditional aesthetic views assume that behind the variated appearance of the different arts lies a common unifying nature.In this paper (which does not directly address the realism-scepticism debate) attention is directed mainly to what may be called "the asymmetries in the arts". I point out that substantive asymmetries would undermine the possibility of a non-disjuntive aesthetics and explore sorne relevant asymmetries which generate scepticism whether a general answer may be given to the ontological question "what is art?". Finally I consider the basic theories on the ontological status of a work of art and argue that neither is able to account for the required multiple properties.Las estéticas tradicionales elaboraron sus tesis desde la convicción de que existe algún tipo de esencia o naturaleza común subyacente a todas las artes, a pesar de su variedad tanto formal como de contenido. Al fin y al cabo, se dice que a la estética le concierne todo aquello referente a la “obra de arte” en cuanto tal. Y, como suele inferirse implícitamente en demasiadas ocasiones y con demasiada precipitación en filosofía, unum nomen, unum nominatum. Sin embargo, a primera vista cuesta creer que la clase de las obras de arte sea una clase natural, es decir, una clase todos cuyos miembros comparten rasgos esenciales en virtud de los que forman parte de ella. Una lista al azar de unas cuantas obras de arte nos basta para advertirlo: un cuadro de Mondrian, un cuarteto de Beethoven, un fresco de Poussin, un vaso Ming, una cantata de Bach, una ópera de Wagner, una escultura de Giacometti, una pieza de teatro experimental serían miembros de esa clase. ¿Qué propiedades objetivas podrían compartir que las legitimaran para ser obras de arte
Conjeturas semánticas: justificar sin confrontar
No full textIn this paper I criticize Comesaña's point of view on Putnam's model-theoretic argument. I claim that there is an interesting point made by the argument that Comesaña has not taken into account: if we want our semantic assertions to be at ali justified, the externalist claim according to which justification requires the God 's Eye View has to be given up